In article <323F3930.A67@clemson.edu>, paditha@clemson.edu says...
[..]
>I know that the green tinge due to fluorescent lighting can be minimized
>by using a FLD filter. Cokin however also has a FLW filter that appears
>to be a stronger version of the FLD filter (it's more pink/magenta in
>color) and the illustration in their intro book also appears to indicate
>such a purpose.
>However in no other FAQ/filter book I read, did I come across a
>description of a FLW filter and its precise use. To complicate matters
>further, I think B&W or Hoya, not sure which, also advertises a FLB
>filter.
>Can someone set the record straight regarding when would one use these
>filters and the significant differences between them if any?

Sean Yamamoto's post covers the FLW and FLB filters, but I am always amazed that the FLD filter is considered adequate for flourescent correction, when
slides taken through it of subjects illuminated entirely by flourescents
remain quite off-color. The cc30 Magenta (available in Kodak gels [which can
be cut to fit behind a UV filter, or placed in a gel holder] or Tiffen glass
in standard rim sizes) does a good job of full correction under most
flourescent light (though I use the FLD when there is some daylight mixed
with the flourescent light, as in labs and classrooms). BTW, with color
negative materials, as with tungsten lighting, I find that no filter is
needed if the film is given a little extra exposure, and the lab takes
care of the balancing in printing.
Hope This Helps